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Everything posted by tupp

  1. There are countless ways to solve this problem. The cables just need strain relief to the cage and the connectors need to be protected from flexing. I have done this before on a caged OG BMPCC simply with two, long, stainless steel, 1/4"-20 bolts and cable ties. nothing would happen if you pulled on the cables. We were able to keep the camera rigged in a bag with a monitor, external battery and lens attached. @BTM_Pix has made an excellent suggestion. I can also envision a solution using the aforementioned 1/4"-20 bolts plus a couple of washers and a small dollup of PC-7 epoxy (or plumbers epoxy -- but you have to work fast!).
  2. Considering the abusive way that he treats his cameras, it's good that he has more than one: "DON'T DO IT!"
  3. tupp


    It looks good! Thanks for the test! I bought the Canon 10mm-18mm EF-S lens on the strength of this video by @ZEEK: @ZEEK says that the lens works on full frame down to about 14mm, but he mainly uses it with a speedbooster on the EOSM.
  4. I know that there are a lot of normal open source keyers, but in regards to AI keyers, I don't know what's available in open source other than what you have linked in this thread.
  5. Blurring definitely affects color: Note that there are none of the more saturated tones in the blurred version. Likewise, lowering resolution (within the same bit depth) reduces color depth.
  6. OP said that the cameras will be used in a "talk show" setting. So, they will likely be on sticks and require a lens that can get fairly tight, with smooth zoom-in/zoom-outs.
  7. Sounds like small camcorder with a decent rocker zoom and manual capability would be ideal. Markus Pix recently touted the Sony CX405, but it would be smart to look at offerings from other brands: Tell your friend to put all the cameras side-by-side before shooting, and then to white balance them simultaneously off of the same white/gray card. Additionally, your friend should shoot a short clip of the white/gray card with each camera -- just in case!
  8. Robust Video Matting appears to be open source, licensed under the GPL-3.0. If that is so, there isn't too much to worry about -- the source code is open for all to scrutinize.
  9. Thanks for comparison! The Fuji cameras definitely introduce a significant blotchiness that is not inherent in the Canon footage. It would be interesting to see unaltered footage without the added contrast. I wish that the Canon position/framing was aligned more closely with the Fujis.
  10. Yet another Blackmagic Super35/APS-C camera with an EF mount...
  11. Compiled ML builds are only around 2MB-3 MB. It appears that one of those files is the git repository (possibly many MB). To install ML on your EOSM, follow the instructions at 03:14 in this video by @ZEEK: A lot of the ML documentation is way out of date. It's best to find recent online tutorials and/or post questions at the ML forums. I don't know where one can find the older builds. Perhaps post the question on the ML forums?
  12. It sounds like you are experiencing a known issue inherent in the first few models of the EOSM (and in some other Canon models) in which the exposure simulation feature is disabled in still photo mode, when manual lenses are mounted. Without using Magic Lantern, there are two hardware hacks that will allow the LCD screen show a usable image (but that might not be accurate in regards to exposure): Mount a smart lens (Canon or other brand) and open the aperture as wide/bright as it will go. Then, swap out the smart lens with your manual lens. Get a "preset aperture," lens chip (as shown in the below video) and touch it to the lens mount contacts of your EOSM (or to the contacts on your smart adapter), then mount the manual lens: It appears that the Magic Lantern "stable" build has an exposure simulation setting within the "Exposure" tab under the "LV Display" title. I'm using a nightly build, and the exposure simulation setting is in a different place within the "Exposure" tab. I can't get the exposure simulation setting to change from "Movie" mode. Also, I can't get the ML menu to appear when the top dial on the EOSM is set to manual photo mode. The ML menu does appear does appear when that dial is set to the green full-auto mode, and I see the Canon "Exp. Sim." symbol appear on the screen. However, even in that mode, I still cannot change the exposure simulation setting in the ML menu. Magic Lantern "stable" build also offers an "LV Display Gain" setting under the "Display" tab, that evidently only appears or works in photo mode. It's may not provide an accurate representation of exposure on the LCD screen, but it should allow framing and focusing. One can then check the histogram on the recorded images to progressively dial-in the exposure. Of course, one could use a light meter to more quickly arrive at the proper exposure. By the way, a few days ago, @ZEEK released another super16-oriented video on using Soviet/Russian lenses on the EOSM:
  13. tupp

    Help needed...

    Renaming the files was the solution (regardless of whether one uses Bridge or one of the other suggested methods).
  14. tupp

    Help needed...

    You can use a simple command or script in the Windows command line ("Power Shell?"). There are several different commands/scripts that will instantaneously rename a batch of your files according to their timestamps. Once you use a shell command/script two or three times, the command line gets fairly easy (although timestamps can require a lot of variables). Of course, there are GUI apps that can mostly accomplish the same thing. I don't use your OS, but a quick web search of Windows renamers that can work with timesta revealed Ant Renamer, which is open source. Bulk Rename Utility also came up in the search. There were other apps in the search results, as well. I can't recommend either as I have never tried them, but I tout open source software for security and for cutting edge features. There were other apps in the search results, as well. Of course, for proper chronological sorting, the date and time should precede the shot number in the new file name. It's probably a good idea to retain the original shot number in the name, just in case you need to reference it in the future. It might also be wise to include the camera "letter" in the name, directly after the date. So, you would start with with the Camera A files in one directory/folder and Camera B files, in another directory/folder, and then just batch rename the two directories separately, with their corresponding camera letter in the new names.
  15. tupp

    Help needed...

    You could do a batch rename of your files according to their time/date stamp, so that the time/date is part of the file name. Once you have the right script, it only takes a second to run.
  16. So that was the post to which I was responding. I wasn't referring to the patent. As someone who's name is on one or two patents, I would suggest that such arbitrary claims indicate that a clueless patent examiner possibly rejected/challenged some of the claims. At the date the RED patent application was filed, there was absolutely no novelty nor innovation in specifying internal or external recording, so it was meaningless to do so (and even detrimental to RED), unless they were trying to appease an examiner who had no clue. There is another reason that specific, arbitrary claims sometime appear in patents, but I don't think that is the case here. I sense that the patent is weak, but that doesn't necessarily mean that it can't be successfully defended. Ha, ha! I briefly scanned the claims of the patent that you linked earlier in the thread. I might have to take another look at it.
  17. tupp

    Fuji X-H2S

    Saw the lens today at CineGear: Didn't ask if it's parfocal or completely focus-by-wire, but the rocker-controlled motorized zoom and focus is cool. On the other hand, It's doubtful that anyone will be hitting focus marks with the focus rocker switch.
  18. Well, it is 100% relevant to the post in this thread to which is was directed: Not sure how that is relevant to my post nor to any patents in question here -- there is nothing novel nor innovative about incorporating a recorder into a camera. Camcorders had existed for year prior to the release of the Dalsa camera. Nevertheless, RED was not the first "to do 4K raw" -- that honor goes to Dalsa.
  19. Dalsa was the first company with a 4K raw cinema camera.
  20. Our own @Mattias Burling recently showed what one can do with a 6.3 megapixel, 19-year-old Canon 300D: Gunpowder!
  21. Well, it's reassuring that you actually received a prize. Was it a camera?
  22. I like most of his camera reviews. On the other hand, he certainly knows how to fake things. Makes one wonder if all of his photo gear give-away contests are legit.
  23. One is for fan boys, the other is for fan girls:
  24. When starting with a new client, I sometimes just build my EOSM with cheap matte box and a top handle, and then put it in a bag. When they see me pull that rig out of the bag, they think they think I am a total pro!
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